The Saxophone Colossus Honored

"Die Moritat von Mackie Messer" is my first awarness of Master Sonny Rollins. Who among any jazz head didn't try to get their Frank Sinatra on to "Mack the Knife"?

To date, Master Rollins is one of my most favorite saxophone players. It's been noted previously that along with him, Joe Henderson and John Coltrane are the Triumvirate of Saxing.

This year the Kennedy Center Honors added to their circle the brilliance that is Sonny Rollins.

In my opinion, Rollins' most important contribution to the jazz world is his commitment to the beauty that is jazz improvisation. To hear him solo is to hear the foundations and the future of what jazz is and what it can be. At 81 years old, everytime I hear him play, it never sounds like the last time I heard him play. I'm not referring to his sound, I'm referring to his desire to reach for new spaces in music. Name one other jazz musician who would approach a country western folk standard and turn it into a jazz standard.

Congrats to Master Sonny Rollins for this well deserved honor!

Robert Glasper - Canvas

The first time I heard of Robert Glasper was just after I got back to Dallas from President Obama’s inauguration. I think I had just thawed out. I came across a tune on NPR dedicated to the President called Enoch’s (Inaugural) Meditation; originally penned as Enoch’s Meditation from his 2005 album titled CANVAS(Blue Note, 2005). The tune was originally a concept tribute to drummer Enoch Jamal Strickland but the redux is a tribute to the election of President Barack Obama replete with speech excerpts from Dr. Martin Luther King, Dr. Cornel West as well as the newly inaugurated President of the United States. I once heard stories about the on the spot improvisation skills of Charlie Parker. For instance, while on the bandstand soloing, a sailor would walk in and Bird would begin adding elements of “Anchors Away” into his solos. I mention this because if you listen closely to Glasper’s solo work on this piece during President Obama’s speech excerpt, you will hear elements of “Hail to the Chief”.

Glasper left my radar shortly after I consumed this record. A couple of years later, I heard his name called as a tour keyboardist for Maxwell and I began a mission to seek out his recordings. Along with recording dates with likes of Terence Blanchard and Robert Hurst, I was surprised and intrigued to know that he has played on several familiar hip hop records with Q-Tip and Bilal. I was also shocked to find out his debut as a band leader was in 2004. How did I miss him?

Glasper’s sophomore offering CANVAS has been on constant rotation lately, more specifically the title track. Canvas is one of those tunes that remind me of elegant cigar rooms filled with beautiful people, full-bodied smells of smoke, glasses of scotch and swagger. He plays the full range of the harmony in his accompaniment and improve…I call it “ten finger chord playing”. The fullness of sound is audibly satisfying.

I have attempted to consume Glasper’s other offerings: IN MY ELEMENT (Blue Note 2007) and DOUBLE BOOKED (Blue Note 2009), but I keep coming back to Canvas. I think it just fits my sensibilities for the time being.
Glasper does some Fendor Rhodes work on this record and also uses Bilal for just that extra touch of sweet soulfulness.

This album is worth your time…and the song is worth 10 minutes of your day…every day.



Canvas Personnel:
•Robert Glasper – piano
•Vicente Archer – bass
•Damion Reid – drums
•Mark Turner – tenor saxophone
•Bilal – vocals

Geri Allen - So Colorful

I was first exposed to GERI ALLEN on a documentary called Robert Altman’s Jazz ‘34: Remembrances of Kansas City Swing. The film was a tribute to “cutting contests” and jam sessions in Kansas City Jazz clubs in the 30s. The scene was set in what would be described as a juke joint and all the artists were dressed in 30s attire. The players included such giants as Ron Carter, David “Fathead” Newman all the way to young lions – at the time, but much seasoned now - like Christian McBride and Nicolas Payton.

Of course, what caught my attention first was Geri is a woman. It can’t be denied that the tradition didn’t boast many women as players. Mary Lou Williams was one of the few exceptions. In my opinion, swing, in the south, from the 30s, was very physical. It took a lot of agility, especially for rhythm section artists. So my quest began to find out who this woman was banging away with the big boys.
Shortly after seeing the documentary (I’m sure I didn’t see the first airing), I ran across my first Allen recording, THE GATHERING, Verve, 1998. I didn’t stop listening to this record for at least a month. I took it from my car to the office to the car to the house – and back again.

THE GATHERING takes on a dark, soulful, emotional, all-encompassing tone. Allen is one of those musicians who tend to describe sound in terms of color palates, a synesthete. I won’t pretend that I always understand or see what one sees when describing sound as color. However, with this record, I can see vivid colors of beautiful sunsets, clear starry nighttime skies and full moons on ocean vistas. While classic in nature, this record is an exercise in post-bop progressivism. An example of my characterization is the tune DARK PRINCE. This tune juxtaposes a classic jazz trio ensemble (piano, drums & bass) with an electric lead guitar accompaniment from VERNON REID of LIVING COLOUR. As Allen leads the ensemble through the funk filled, infectious groove, you can hear Reid compliment it with an unobtrusive wailing that lends itself to a soulful mystery. This song alone will make you understand why it was so difficult to put this record away for such a long time. Allen’s chops are phenomenal. I love her most because she’s an ensemble-ist. When it’s time to groove, she grooves. When it’s time to accompany, she accompanies. When it’s time to shine, she takes over. Without a doubt, she’s equally comfortable in all three arenas.

I started thinking about how much I liked THE GATHERING and Allen when I ran across an interview on Marian McPartland’s Piano Jazz on NPR. Her virtuosity was put on display in the studio in a solo format. She performed several pieces. Most of the compositions were her own; however, she blessed the listeners with a luscious version of Billy Strayhorn’s LUSH LIFE. Allen and McPartland also jammed a little while on two pieces including Charlie Parker's ANOTHER HAIRDO.

Allen's latest project is entitled, GERI ALLEN AND TIMELINE - LIVE, Motemaa, 2010. TIMELINE features KENNY DAVIS on Bass, KASSA OVERALL on drums and features MAURICE CHESTNUT, a tap dancer as part of the rhythm section.

Allen is married to trumpeter WALLACE RONEY. I have got to find my tape of Roney playing optional lead to Miles Davis at the Montreaux Jazz Festival the last time Davis ever performed any of his Cool Bop music. Allen is also busy teaching Jazz at the University of Michigan.

I’ve not heard this new recording in its entirety...I can't wait...

Miles Dewey Davis....Happy Born Day- May 26, 1926

If you've ever found any reason to talk to me about Jazz, I'm sure I have spoken of my general awe and undying love of the song ALL BLUES. This tune, along with MOOD INDIGO and BLUE BOSSA embody what...JAZZ IS...in my humble opinion.

ALL BLUES, Columbia Records, 1959 was originally recorded April 22, 1959 on arguably the greatest jazz album ever recorded, KIND OF BLUE. Kind of Blue became the standard bearer for practically every recording jazz artist of the era and beyond.

Kind of Blue personnel:
Miles Davis – trumpet, band leader
Julian "Cannonball" Adderley – alto saxophone, except on "Blue in Green"
Paul Chambers – double bass
Jimmy Cobb – drums
John Coltrane – tenor saxophone
Bill Evans – piano (except "Freddie Freeloader") liner notes
Wynton Kelly – piano on "Freddie Freeloader

Miles would have been 85 years old today...Gone too soon...

Video personnel:
Miles Davis - Trumpet
Wayne Shorter - Tenor Sax
Ron Carter - On the Bass...ATCQ style
Tony Williams - Drums
Herbie Hancock - piano

Happy Anniversary Bunny...

In the car, I tend to keep my IPod on shuffle. I have relatively diverse music tastes, so the music shuffle provides me with the formatting that I wish radio could be. I wish – not expect. The diversity of the music is pretty cool except when you hear Michael Jackson belting out songs about seeing his mother kissing Santa Claus…in May.

But this morning, ignition, thumb to play: MICHAEL FRANKS and BRENDA RUSSELL styling one my most favorite ballads, WHEN I GIVE MY LOVE TO YOU.

This tune is from the album, SKIN DIVE, Warner Bros. 1985. It was particularly apropos as today is my wedding anniversary. Michael Franks is one of only a few artists my wife commonly enjoy.

This one's for you Bunny…Happy Anniversary!!!


The video features VERONICA NUNN.

One O'clock....rock

Embarrassingly enough, I missed the first date of the best part of my summer – Thursday nights at the Dallas Museum of Art - Jazz Under the Stars. But I redeemed myself tonight.

If you, as I did, grew up playing jazz/stage band in DFW, you probably dreamed of playing in the University of North Texas’ (formerly North Texas State University) One O’clock Lab Band.

On this unseasonably cool May night, I got to listen to the fabled band that once featured some of my favorite musicians from as far back as the eighties and recently as the few years ago. I have always loved this band. The tradition of the One O’clock Jazz Band has always been a standard bearer for Jazz Bands in the area and by the very fact that they have been nominated for Grammys, all over the world.

Tonight, this band did everything a stage band is supposed to do; from the swingin’ saxophone line soli and screamin’ trumpets to the full trambone harmonies and the tight rhythm section. I was not disappointed. They played about 8 – 10 tunes total. Two of the tunes really stood out for me. First being a tune called HIP PICKLES. This tune was written by a student in the 70s and it sounded like it. It was a funk fusion piece complete with funky guitar rhythms and those screamin trumpets abovementioned. Also, there was beautiful ballad titled, YESTERDAYS. This tune was led by the lead tenor player. Real nice…I found a couple of videos of this band from 2010 playing these tunes. I recognized the players. I hope you enjoy this as much as I did.

Meet Jason Davis...Again

Latest Project: GREEN

Just before I took a trip to the Dominican Republic, Jason Davis released is latest record, GREEN. On my 5 am flight, I played the record for the first time. No sleep for me. The record kept me relaxed, interested and entertained from beginning to end.

This record is a trio setting which is Davis on Tenor, Lamont Taylor on Drums and Mike League on Bass. The trio setting sans piano is and always has been tough for me to digest. I am harmonically challenged sometimes and when I don’t hear the colors from the chords, I get lost. My first experience with this type trio was Branford Marsalis, Jeff Watts and Robert Hurst – The Beautyful Ones Are Not Yet Born…I still haven’t digested that record. So I won’t waste keystrokes trying to explain how I feel about this record, except to say, I really like it. I will say that this record was a lot easier for me to follow. I don’t know if my ears have grown up or Jason’s record is just that good. Jason’s driving style is reminiscent of the Texas Tenor tradition. His love for the tradition is guaranteed to keep it alive.

If I have one complaint, sometimes during Davis’ improvisation efforts he disappears. I believe it is the gorilla recording coupled with his physical style when he gets into the music.

I had chance to interview Jason.

What’s your main instrument? Tenor Saxophone
What other instruments do you play? Clarinet, Flute, Piano, Baritone Horn, Organ, Harmonica, Vibraphone, Drums, Bass Guitar
When did you know music would be your life? September 1984 @ Pearl C. Anderson Elementary School.
What song do you remember most as a child? Ava Maria
How do you describe the music you play? Husic; it is Healing Music that presents Hues, Shapes, Textures and Spiritual Intentions
What is the name of latest project? Green
Describe that project? When I recorded Green I wrote down a list of the 25 things that I do on sax better than anyone else. Then I called up Mike League and Lamont Taylor and asked them to come record some originals with me. I told them that this session would be very loose and have lots of time a directional changes. Green is an improvised recording that is the way I sound when no one is watching.
If you could pick one song that describes music for you, what would that song be? To God Be the Glory.
What is your favorite moment in your own personal music history? Standing on stage this year in front of my new Jazz Big Band called "Stage Band South" for our first gig.
What do you think about when you are improvising? Nothing
What is your biggest career challenge right now? I need my own music venue (Concert Hall) so that my audiences can see me without reserve.
What are your biggest creative influences?The Texas Music Tradition that comes out of South Dallas and Lincoln High School.
Who is your biggest fan? My dad - James Davis Sr.
Who are you trying to reach with your music? Im trying to reach everyone that dares to listen.
What is your approach to live performances? I want to be vernacular and take an Illinois Jacquet (Texas Tenor) approach.
If it is true that you write what you like to perform over and over, what song(s) have you written that you love to perform? #1 song is called "Put That Meat on The Grill" #2 song is called "Cozumel"
If you only had one song to play before you left the earth, what song would that be? Hymn #162 "Pass Me Not"
What are you doing now? Viral Marketing all over the web with videos, CD releases and blogs. Looking for funding for my Big Band Concept.

Without music, I would be I would be searching for my purpose in life.

Music is a gently twisted tool that can get you through anything

Video links: http://www.youtube.com/watch?v=gt3khwNPEDY
Social Media Links: http://www.facebook.com/wellingtonhancock
Music Links: http://itunes.apple.com/us/album/green/id42723220

Jason Davis' Equipment:
Reeds: Benz-Reeds #3 or Vandoren Java #3
Mouthpiece: Claude Lakey 6*
Ligature: Rovner
Horn: Band Now
Mics: AKG C419
Effects: Presonus Audio Box with Mac Book